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The Cinema of Alexander SokurovFigures of Paradox$
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Jeremi Szaniawski

Print publication date: 2014

Print ISBN-13: 9780231167352

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231167352.001.0001

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On the Poetics of Space in Sokurov’s Tetralogy (Moloch/Taurus/The Sun/Faust)

On the Poetics of Space in Sokurov’s Tetralogy (Moloch/Taurus/The Sun/Faust)

Chapter:
(p.272) Postscript On the Poetics of Space in Sokurov’s Tetralogy (Moloch/Taurus/The Sun/Faust)
Source:
The Cinema of Alexander Sokurov
Author(s):

Jeremi Szaniawski

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231167352.003.0017

This postscript explores the poetics of space in Russian director Alexander Sokurov's tetralogy of power: Moloch, Taurus, The Sun, and Faust. More specifically, it considers the implications of this fascinating articulation of film grammar and point of view, which reflects upon and emphasizes a new way of perceiving a story, along with the moral stakes it entails. It suggests that all four feature films doubly encounter the layers of the “other life,” foremost in their estranged, phantasmagorical worlds, climaxing in the barren and beautiful Icelandic landscape meant to represent the land of the damned souls in Faust. It is there, as the protagonist runs towards an endless, snowy, mountainous expanse, that the film and the tetralogy end on a rich and ambiguous note, from the base spiritual level of the fearful and hateful Adolf Hitler in Moloch to the clear metaphysical plane achieved in the (fictional) person of Faust.

Keywords:   poetics of space, power, Moloch, Taurus, The Sun, Faust, grammar, feature film, tetralogy

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