Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Andrei Zvyagintsev
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Odwołania do idei cykliczności w filmie „Wygnanie” Andrieja Zwiagincewa

100%
Przybysz A. K.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
|
2017
|
issue 7
123-134
PL
The aim of this article is to show how the idea of cyclicality functions in the artistic world of The Banishment, directed by Andrei Zvyagintsev. We try to show that this idea works in conjunction with biblical motifs, but is also visible in a broader mythical-anthropological context. This idea is inseparably linked with the motive of the border, which is floating by its nature. We also try to put emphasis on the Zvyagintsev’sartistic method.
2
Publication available in full text mode
Content available

Murky Images. The Poetics of Intertextual Dissonance in the Apocryphal Films of Andrei Zviagyntsev

100%
Pawłowska-Jądrzyk B.
Załącznik Kulturoznawczy
|
2015
|
issue 2
240-255
EN
The first two films of Andrei Zvyagintsev, The Return and The Banishment, deserve to be called modern apocrypha, as they methodically and compre- hensively utilise elements of Christian symbolism and are part of the non- -canonical dialogue with religious messages. The films are characterised by a multiplicity of thematic plans that are outlined mainly through a variety of intertextual references. Among these relationships, a particular place is occupied by biblical and evangelical references, which are mostly mediated by artistic intertexts (especially paintings). The Russian director entangles the viewer in a subtle play of meanings: he evokes canonical scenes and stories, but distorts symbolic references, multiplying and confusing further interpretive clues. In addition to (completely inconsistent) references to the works of others, intertextual tensions are shown in his work on at least two levels: between different elements or levels of a given film (the function of the photograph motif next to the rest of the film text) and between the various films of Zvyagintsev himself (casting the same actor in both leading roles). The talented successor to Tarkovsky follows the mystery of human fate, eager to capture the metaphysical community of critical experiences. This mystery in the work of Zvyagintsev emerges in a quite obvious way from the eternal truths established in archetypes, in biblical and evangelical wis- dom. It is much easier to see it in the fusion of ‛murky imagesʼ than it is to understand.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.