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  1. 2 Studia Filmoznawcze

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  1. 2 Bobula M.

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  1. 2 2014

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Na progu śmierci. O liminalności w "Samotnym głosie człowieka" Aleksandra Sokurowa

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Bobula M.
Studia Filmoznawcze
|
2014
|
vol. 35
203 - 212
EN
Based on the two short stories by Andriei Platonow, Alexander Sokurov’s The Lonely Voice of Man is the tragic story of Nikita and Liuba’s encounter after Nikita’s return from the Civil War. War experiences have made Sokurov’s protagonist unable to cope with life. As a result, he departs from Liuba shortly after marrying her and starts to work in deplorable working conditions. This essay aims at describing liminal qualities of Alexander Sokurov’s debut film. The author advances a thesis that exploring the border between life and death, a recurrent theme of all Sokurov’s works, originates in his first feature fi lm. Thus, referring to the anthropological concept of liminal state, the author examines narrative techniques and stylistic devices used in The Lonely Voice of Man in order to demonstrate how Russian director thematises the condition of being “in between” in his film. The overarching argument of this essay is that in The Lonely Voice of Man Sokurov takes up the subjects of loneliness, memory and loss to evoke liminality.
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O odwilży i jej następstwach. Recenzja książki Joanny Wojnickiej: "Dzieci X Zjazdu. Film w kulturze sowieckiej lat 1956–1968", Universitas, Kraków 2012, ss. 478

100%
Bobula M.
Studia Filmoznawcze
|
2014
|
vol. 35
269 - 272
EN
In her book Dzieci XX Zjazdu. Film w kulturze sowieckiej lat 1956–1968 (The Children of the Twentieth Congress. Film in Soviet Culture During the Period of 1956–1968) Joanna Wojnicka describes the thaw period in Soviet cinema, which has never been extensively discussed in the field of Polish Film studies. The author presents the historical and cultural background of the thaw, vital to the conducted study. Wojnicka presents us with a great deal of information which allow us to better comprehend all the significant contexts of this problematic period of Russian history. Her approach is thoroughly interdisciplinary, for the author presents a Cultural Studies point of view, which emphasizes a multifaceted nature of the era. Wojnicka’s book consists of four chapters. The first two deal mainly with the historical and cultural nuances, thus foregrounding rather the insight into the epoch than the analysis of Soviet cinema of the era. The remaining two chapters focus mainly on fi lms of the thaw period, providing us with the details of censorship and new wave movies.
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