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The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’S Documentary Films

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Journal of Siberian Federal University. Humanities & Social Sciences 4 (2015 8) 677-706 ~ ~ ~ УДК 791.43/45 The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films Alexandra A. Sitnikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.09.2014, received in revised form 16.11.2014, accepted 21.12.2014 The article studies the concept of Siberia in audio-visual images of cinematography. The research is made on the basis of several films. In Soviet cinematography the concept of Siberia is analyzed on the basis of Ivan Pyr’ev’s “Skazanie o zemle sibirskoi” (“The saga of Siberia”) (1947), in Post-Soviet cinematography this concept is analyzed on the basis of Viacheslav Ross’s “Siberia. Mon amour” (2011). Regarding foreign films about Siberia, the author focuses on “Bells from the Deep. Faith and Superstition in Russia” (1993) and “Happy people: a Year in the Taiga” (2011) shot by Werner Herzog, a German film director, in co-directorship with Dmitry Vasyukov, a Russian film director. The research resulted in revealed conceptual images of Siberia translated into the culture of cinematography. The article also provides a review of scientific literature on Siberian cinematography. Keywords: Siberia, concept, Siberian cinematography, Siberia in cinematography, image of Siberia in films, fiction films about Siberia, “Skazanie o zemle sibirskoi” (“The saga of Siberia”), “Siberia. Mon amour”, “Bells from the Deep. Faith and Superstition in Russia”, “Happy people: a Year in the Taiga”. Research area: culture studies, art history. Introduction a great number of films about Siberia: some of Modern world often considers Siberia as them are well known, others are known less. some mysterious place somewhere in the south- One part of these films is documentary, the other east of the Eurasian continent viewed in the light one is fiction. The article will study some fiction of mythological concepts, such as never-ending films about Siberia, which show the evolution of winter, cold and snow; bears wandering in cities; views on this territory from the Soviet times up a place of exile and servitude, etc. At that by now to the present. The second focus of research is the the audio-visual culture has generated a great attempt of opening up a visual image of Siberia number of documentary and fiction films showing in cinematography. It implies the study of foreign either a more realistic Siberia or, vice versa, cinematography, depicting the image of Siberia, enriching this territory with new myths. The and namely the analysis of Werner Herzog’s film present article will focus on the image of Siberia “Bells from the Deep. Faith and Superstition in in cinematography. Undoubtedly, there appeared Russia” and his producer project “Happy people: © Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 677 – Alexandra A. Sitnikova. The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films a Year in the Taiga”. What explains the interest to overview on the development of a documentary fiction films in the research is the interest not to film in Omsk, Novosibirsk and Kemerovo regions the objective aspects of Siberian life or impassive as well as methodological directives in the field observations over Siberian nature or a human of educational programmes on cinematography in Siberia, but to conceptual ideas on “Siberia” for children and youth of Siberia and content phenomenon which are formed in cinematography. analysis of Siberian film festivals. Despite the These are mythological, associative, and authors’ fact that a Siberian documentary film is not a interpretations of Siberian objective reality. subject of the present research, it is still vital to It is important to outline a circle of pay attention to the thematic areas, singled out by problems on this or related issue to analyze the N.F. Khil’ko, which are often shown in Siberian films chosen. To begin with it should be noted documentary films as these thematic areas will that the research of the image of Siberia in be mentioned in the analysis of fiction films. cinematography is based on a theoretical aspect Thus, according to N.F. Khil’ko’s research, a of the study of the film art: cinematography documentary film about Siberia is developed in is viewed as a powerful tool of a socio- the following directions: “Availability of similar cultural development of public ideas on certain and identical themes (both in professional and phenomena of objective reality. This position is amateur documentary cinematography – the specifically defined in K.V. Reznikova’s article author’s note): beauty of a native land and love to “Znachenie kinematografa dlia formirovaniia home town; aesthetics of labour and heroism of obshcherossiiskoi natsional’noi identichnosti” everyday work, display of labour trajectories; call (“The significance of cinematography in the for conservancy, national heritage and cultural formation of All-Russian national identity”): monuments; beauty and greatness of science; “The scholars, working out a constructivist outstanding cultural professionals of the region” approach, view cinematography as well as mass (Khil’ko, 2010, p. 101). media as a most significant force in developing The history and image of Siberia in a social reality. Being the largest industry of cinematography are dwelt upon in the article the modern world, it is cinematography which by E.N. Savel’eva, doing her research on has the potential of maximum influence on the how the concept of Siberia was changing in viewing public. It can productively introduce a cinematography in a historic perspective and certain attitude to a specific situation as well as analyzing the theme of Siberia in Soviet films to the whole epoch, norms and values, bahaviour of the 1960-1970-s. E.N. Savel’eva writes patterns to the society. It is cinematography which about informative aspects of early Siberian makes it possible not only to represent the whole cinematography: “In cases when Siberia turns epoch but also to create and form the history and out to be a place of significant events (but not an the present” (Reznikova, 2013). ethnographic entourage or exotic background) The history of Siberian history and Siberian a conceptual kernel of the plot is constituted documentary cinematography is described in by the idea of primordial essence of natural “Kinematograf Sibiri: kommunikatsiia, iazyk, existence, preserving an ethic constituent of tvorchestvo” (“Siberian Cinematography: human relations. In other words Siberia becomes Communication, Language, Creative Work”), a topos of moral and natural existence of a a capacious book by the Omsk researcher ‘country man’, resisting an impoverished and N.F. Khil’ko. This book provides a detailed artificial ‘city man’” (Savel’eva, 2007, p. 82). – 678 – Alexandra A. Sitnikova. The Image of Siberia in Soviet, Post-Soviet Fiction and Werner Herzog’s Documentary Films In the course of her research of the theme a spiritual search, placed on this topos. Thus, in of Siberia in films E.N. Savel’eva concludes that his “Siberiade” A. Konchalovsky is very precise the reference to regional themes was extremely about absolute honesty of nature, costumes, sound, urgent in Soviet cinematography of the 1960- and psychology. V. Shukshin embodies the image s when the task of the formation of the Soviet of a Siberian village with maximum accuracy multinational community, integral vision of the and trustworthiness practically in all his films. Soviet people was set on the level of the state Altaian landscapes, villages with Siberian izbas socio-cultural development: “The phenomenon (peasants’ houses) are depicted not in passing like of national cinematography was called into being some exotic things but with precise consideration, by the pathos of “familiarizing with the origins” with an eye of an artistic individual who knows as a variant of a traditional collectivist self- this territory from inside. Non-professional actors sentiment. They started to search for the example are often engaged to display the completeness of such total dilution of a human in the world in of the “truth of life”. Shukshin reconstructs the folklore and in folk poetic work. Correspondingly, objective realities of the national culture, realities specific principles of poetics, characteristic of life of the people’s spirit” (Savel’eva, 2007b, to practically all regional professionals, are pp. 62-66). The author’s attempt to analyze being developed. These are convincingness the films about Siberia from the point of genre of narration, documentalism, aiming at the preferences in this sphere is also interesting. vision trustworthiness, authenticity of objective Thus, the researcher comes to the conclusion that reality in films, and its impressive nature. For in most cases a dramatic film is an appropriate completeness of the feeling of “truth” of the local genre for cinematography to give an image of colouring they often engage non-professional Siberia. Thus, it can be assumed that the basis for actors, introduce local dialects and tunes. As Siberian plots is often constituted by tragedy and a result, each shot shows the triumph of life” drama of life which also uncovers the content of (Savel’eva, 2007a, p. 82). E.N. Savel’eva gives a the concept of Siberia in cinematography. detailed analysis of such films about Siberia as As the present article is an attempt to analyze “Siberiade” by A. Mikhalkov-Konchalovsky the images of Siberia in foreign cinematography (1978), “By the lake” (“U ozera”) (Lake Baikal) through Werner Herzog’s documentary and by S. Gerasimov (1970), “The Red Snowball Tree” live-action films, the essential stratum of the (“Kalina Krasnaia”) by V. Shukshin (1973), etc.: research literature is connected with the German “This focus is peculiar for A. Konchalovsky and film director’s creative work. An exotic and V. Shukshin who devoted a part of their creative original vision of the Earth planet as if with an life to Siberia.
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  • Bruce Chatwin, a Kindred Spirit Who Dedicated His Life to Illuminating the Mysteries of the World

    Bruce Chatwin, a Kindred Spirit Who Dedicated His Life to Illuminating the Mysteries of the World

    PRESS NOTES - 2020 - MUSIC BOX FILMS LOGLINE Werner Herzog travels the globe to reveal a deeply personal portrait of his friendship with the late travel writer Bruce Chatwin, a kindred spirit who dedicated his life to illuminating the mysteries of the world. SYNOPSIS Werner Herzog turns the camera on himself and his decades-long friendship with the late travel writer Bruce Chatwin, a kindred spirit whose quest for ecstatic truth carried him to all corners of the globe. Herzog’s deeply personal portrait of Chatwin, illustrated with archival discoveries, film clips, and a mound of “brontosaurus skin,” encompasses their shared interest in aboriginal cultures, ancient rituals, and the mysteries stitching together life on earth. WERNER HERZOG Werner Herzog was born in Munich on September 5, 1942. He grew up in a remote mountain village in Bavaria and studied History and German Literature in Munich and Pittsburgh. He made his first film in 1961 at the age of 19. Since then he has produced, written, and directed more than sixty feature- and documentary films, such as Aguirre der Zorn Gottes (AGUIRRE, THE WRATH OF GOD, 1972), Nosferatu Phantom der Nacht (NOSFERATU, 1978), FITZCARRALDO (1982), Lektionen in Finsternis (LESSONS OF DARKNESS, 1992), LITTLE DIETER NEEDS TO FLY (1997), Mein liebster Feind (MY BEST FIEND, 1999), INVINCIBLE (2000), GRIZZLY MAN (2005), ENCOUNTERS AT THE END OF THE WORLD (2007), Die Höhle der vergessenen Träume (CAVE OF FORGOTTEN DREAMS, 2010). Werner Herzog has published more than a dozen books of prose, and directed as many operas. Werner Herzog lives in Munich and Los Angeles.