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Character Doubles as a Symptom in Late Soviet Cinemaстатья
- Авторы: Prokhorov Alexander, Prokhorova Elena
- Сборник: The Anti-Hero Archetype in Soviet Cinema of the Seventies and Early Eighties
- Год издания: 2021
- Издательство: Routledge
- Местоположение издательства: United States
- Первая страница: 15
- Последняя страница: 33
- Аннотация: Social satire and fantasy films were an implicit affront to Soviet convention. Concurrently, these genres have always given more freedom to filmmakers vis-à-vis censorship. In the late sixties, Soviet filmmakers devised a subversive means to reevaluate the social norms of late Soviet culture, particularly during the Stagnation era: they used doubling—the hero–antihero duo—to demonstrate the discrepancy between positive and negative, between the proclaimed norm and its antithesis. This chapter examines Pavel Arsenov’s King Stag (Korol’ olen’ 1969), Nadezhda Kosheverova’s Shadow (Ten’ 1971), Leonid Gaidai’s Ivan Vasil’evich: Back to the Future (Ivan Vasil’evich meniaet professiiu 1973), and Aleksandr Seryi’s Gentlemen of Fortune (Dzhentl’meny udachi 1971) and Quid Pro Quo (Ty – mne, ia – tebe 1976). If earlier films had portrayed characters in a more straightforward manner, with such characters possessing either immutable negative or positive attributes, these later films would center around a hero–antihero pairing, neither of whom were entirely good nor bad. In these films, identity proves capable of change; character is not restricted to a single, constant state.
- Добавил в систему: Прохоров Александр Викторович