Description
Book SynopsisThrough contextualization and close readings of each of his feature fiction films, this volume unearths a vision of Sokurov's film.
Trade ReviewSokurov's work is prodigious, historically fundamental, formally path-breaking, and at the same time virtually unknown in the West. Certainly it needs a popular general introduction, but it is rare for so thorough a volume as this by Jeremi Szaniawski to offer so thought-provoking and novel an interpretation at one and the same time. His proposal to sort Sokurov's production into cycles is extraordinarily helpful, while his technical commentaries on these films will be indispensable to the layman. This exciting book is a marker with which all future students of Sokurov will have to come to terms; its accounts of cultural, political and literary contexts will be as illuminating to the non-specialist reader as its history of production will for film studies. -- Fredric Jameson, Duke University Like all serious criticism, Jeremi Szaniawski's book is a universe unto itself: wise, learned, a sustained dream of the films it sees so well. -- Alexander Nemerov, Stanford University [Szaniawski's] book, not aimed solely at those familiar with Sokurov's work, is full of observations even the most diligent viewer could miss. Szaniawski warns that Sokurov's films, complex in their imagery and symbolism, can seem tedious, but he writes about them engagingly, analysing them in great detail. -- Anna Aslanyan Times Literary Supplement Alexandr Sokurov... is arguably the most important and most prolific Russian director working today, so this volume is a welcome addition to the literature about this famously complex filmmaker and his films. -- Denise J. Youngblood, University of Vermont Russian Review Szaniawski's truly remarkable monograph... is brilliant, highly recommended... cleverly divining the right key to enter the world of one of the most fascinating (if sometimes "difficult") filmmakers around. Senses of Cinema
Table of ContentsAcknowledgements Preface Introduction: The Fragment and the Infinite, or, the Hypothesis of the Third Term in the Cinema of Alexander Sokurov 1. Lonely Voice of Man: Singular Murmurs, Multiple Echoes 2. Mournful Insensitivity: The Apocalypse of the Modern 3. Days of the Eclipse: 'Adieu, Babylone'; Adieu, Tarkovsky 4. Save and Protect: Of Angels and Flies 5. The Second Circle: Winter, Light, and the Intimate Sublime 6. The Stone: No Way Home 7. Whispering Pages: Death, Nothingness, Memory 8. Mother and Son: Time Abolished, Time Transfigured 9. Moloch: Adi (and Eve): Fear Eats the Soul 10. Taurus: 'Father, where art thou?' 11. Russian Ark: Imperial Elegy 12. Father and Son: Beyond Absolute Intimacy 13. The Sun: Iconoclastic Humanism 14. Alexandra: The Return to Neverwas and the Ambiguity of Romance 15. Faust: Sokurov Waltz Postscript On the Poetics of Space in Sokurov's Tetralogy (Moloch/Taurus/The Sun/Faust) Conclusion Postface Addendum A: interview with Alexander Sokurov, 2005 Addendum B: interview with Alexander Sokurov, 2013 Filmography Bibliography Index
