The Cinema of Alexander Sokurov: Figures of Paradox
The Cinema of Alexander Sokurov: Figures of Paradox
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Abstract
One of the last representatives of a brand of serious, high-art cinema, Alexander Sokurov has produced a massive oeuvre exploring issues such as history, power, memory, kinship, death, the human soul, and the responsibility of the artist. Through contextualization and close readings of each of his feature films (broaching many of his documentaries in the process), this volume unearths a vision of Sokurov's films as equally mournful and passionate, intellectual, and sensual, and also identifies in them a powerful, if discursively repressed, queer sensitivity, alongside a pattern of tensions and paradoxes. This book offers new keys to understand the lasting and ever-renewed appeal of the Russian director's Janus-like and surprisingly dynamic cinema—a deeply original and complex body of work in dialogue with the past, the present and the future.
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Front Matter
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Introduction
The Fragment and the Infinite, or, the Hypothesis of the Third Term in the Cinema of Alexander Sokurov
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One
Lonely Voice of Man: Singular Murmurs, Multiple Echoes
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Two
Mournful Insensitivity: The Apocalypse of the Modern
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Three
Days of the Eclipse: ‘Adieu, Babylone’; Adieu, Tarkovsky
- Four Save and Protect: Of Angels and Flies
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Five
The Second Circle: Winter, Light, and the Intimate Sublime
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Six
The Stone: No Way Home
- Seven Whispering Pages: Death, Nothingness, Memory
- Eight Mother and Son: Time Abolished, Time Transfigured
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Nine
Moloch: Adi (and Eve): Fear Eats the Soul
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Ten
Taurus: ‘Father, where art thou?’
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Eleven
Russian Ark: Imperial Elegy
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Twelve
Father and Son: Beyond Absolute Intimacy
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Thirteen
The Sun: Iconoclastic Humanism
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Fourteen
Alexandra: The Return to Neverwas and the Ambiguity of Romance
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Fifteen
Faust: Sokurov Waltz
- Postscript On the Poetics of Space in Sokurov’s Tetralogy (Moloch/Taurus/The Sun/Faust)
- Conclusion The (Im)Possibility of an Island
- Postface
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End Matter
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