The filmmaker's philosopher : Merab Mamardashvili and Russian cinema /
Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation - including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov.
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Edinburgh : Edinburgh University Press,
Edinburgh University Press : Edinburgh University Press ;
[2019]
|
| Subjects: | |
| Online Access: | CONNECT CONNECT |
Table of Contents:
- Intro
- Title page
- Copyright
- Contents
- Figures
- Acknowledgments
- Note on Transliteration and Translation
- INTRODUCTION The Freest Man in the USSR
- CHAPTER 1 Alexander Sokurov's Demoted (1980): Consciousness as Celebration
- CHAPTER 2 Ivan Dykhovichnyi's The Black Monk (1988): Madness, Chekhov, and the Chimera of Idleness
- CHAPTER 3 Dmitry Mamuliya's Another Sky (2010): The Language of Consciousness
- CHAPTER 4 Alexei Balabanov's The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death o
- CHAPTER 5 Alexander Zeldovich's Target (2011): Tolstoy and Mamardashvili on the Infinite and the Ear
- CHAPTER 6 Vadim Abdrashitov and Alexander Mindadze's The Train Stopped (1982): Film as a Metaphor fo
- CONCLUSION Andrey Zvyagintsev's Loveless (2017): The Philosophical Image and the Possibilities of Fi
- Appendix
- Bibliography
- Index
