Helena Goscilo, Yana Hashamova's Cinepaternity: fathers and sons in Soviet and post-Soviet PDF

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. participants examine advanced styles of id, disavowal, and displacement in motion pictures via such varied administrators as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. numerous chapters specialize in the problems of enjoyable the paternal functionality, whereas others express how vertical and horizontal male bonds are again and again strained through the strain of redefining an embattled masculinity in a moving political panorama.

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Additional resources for Cinepaternity: fathers and sons in Soviet and post-Soviet film

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Enabling through Strength and Weakness The proliferation of both authoritarian and ineffectual fathers on the Russian screen during the 2000s stems from the widespread postSoviet disorientation that characterized the roller-coaster 1990s, when the country was groping its uncertain, crime-riddled way to some semblance of a market economy under Yeltsin’s rapidly deteriorating leadership. Through sheer force of experience, self-confidence, and mystery that readily translates into mystique, strong or domineering paternal figures in Chukhrai’s Vor, Zviagintsev’s debut film Vozvrashchenie, and Sokurov’s Otets i syn exert a decisive formative influence on sons negotiating a transition to manhood.

As the filmmaker noted in 1990: All three characters, each in his own way, expressed my own experience, emotional state, and attitude toward life. 11 I dreamt of being like Kol’ka, easy-going, brave, capable of joining any conversation, establishing contact. 12 The filmmaker maintains that the myth of the Great Family is universal and natural for all Soviet society and that the protagonist’s act of remembering is equal to the act of remembering by communities—circles of friends, creative communities of poets and their audiences—and eventually intimated by the state itself.

No one would believe it! . Can anyone believe that a father wouldn’t answer his son’s question and wouldn’t help him by advising him to find the right path in life? 34 · T h aw, S tag nat io n , P e r e s t roi k a There is more to this than meets the eye. It has a particular meaning. The idea is to impress upon children that their fathers cannot be their teachers in life, and there is no point in turning to them for advice. 10 In my view, however, the logic of the film implies that the sons only continue the project of their fathers, interrupted by the fathers’ untimely deaths in the war—a not so subtle euphemism for the fathers’ fate under Stalin.

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Cinepaternity: fathers and sons in Soviet and post-Soviet film by Helena Goscilo, Yana Hashamova


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