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 fiction 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 thus 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.
- Contents
- Acknowledgements
- 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: Iconclastic 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: The (Im)Possibility of an Island
- Postface
- Addendum A: Interview with Alexander Sokurov, 2005
- Addendum B: Interview with Alexander Sokurov, 2013
- Filmography
- Bibliography
- Index
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