By Helena Goscilo, Yana Hashamova
This wide-ranging assortment investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. participants learn complicated styles of identity, disavowal, and displacement in movies by way of such assorted administrators as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. numerous chapters specialize in the problems of pleasing the paternal functionality, whereas others express how vertical and horizontal male bonds are many times strained by means of 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
Fathers are absent usually because they perished during the Great Patriotic War, and their heroic deaths in combat partially explain their sons’ troubled childhood, criminal behavior, and resultant prison experience (as in Nochnoi pa trul’ [Night Patrol, Sukhobokov 1957] or Delo pestrykh [The Case of Many Colors, Dostal’ 1958]). 1 Few pictures made the sons’ actual imprisonment the result of their crimes. For example, in Delo Ruminatseva [Rumianstev’s Case, Kheifits 1955], the fatherless protagonist ends up in jail because he is set up by his criminal boss (the false father), and the investigator (another false father) is a bureaucrat and is indifferent.
50). 15. Seneca modeled his Oedipus on this, the first of Sophocles’ two Oedipus tragedies. 16. In The Future of an Illusion Freud observes, “It is in keeping with the course of human development that external coercion gradually becomes internalized; for a special internal agency, man’s super-ego, takes it over and includes it among its commandments” (11). 17. Originally (1897) identifying the family romance as symptomatic of pathology, by 1909 Freud posited this transference fantasy as a universal wish fulfillment.
Imitating “direct cinema” stylistics, the director and his camerawoman succeeded in creating the effect of a non-staged event. The action unfolds in front of the camera and looks unpredictable, spontaneous, following its own natural flow. Khutsiev reinforces the documentary effect of the scene by mixing his characters with bona fide celebrity figures who “play” themselves: Bella Akhmadulina, Evgenii Evtushenko, Bulat Okudzhava, Robert Rozhdestvenskii, Boris Slutskii, and Mikhail Svetlov, whose role in the diegesis is that of contemporaries of the two main characters, Sergei and Ania.
Cinepaternity: fathers and sons in Soviet and post-Soviet film by Helena Goscilo, Yana Hashamova