Academic literature on the topic 'Aleksandr Sokurov'
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Journal articles on the topic "Aleksandr Sokurov"
Szaniawski and Sokurov. "Interview with Aleksandr Sokurov." Critical Inquiry 33, no. 1 (2006): 13. http://dx.doi.org/10.2307/3877140.
Full textSzaniawski, Jeremi. "Interview with Aleksandr Sokurov." Critical Inquiry 33, no. 1 (September 2006): 13–27. http://dx.doi.org/10.1086/509744.
Full textHarte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.
Full textMartoni, Alex. "Stimmungen no Fausto de Aleksandr Sokurov." Pandaemonium Germanicum 18, no. 26 (December 2015): 46–71. http://dx.doi.org/10.1590/1982-883718264671.
Full textHwang, Kiun. "Aleksandr Sokurov: Russian Ark (KinoSputnik 3)." Studies in Russian and Soviet Cinema 11, no. 3 (September 2017): 256–57. http://dx.doi.org/10.1080/17503132.2017.1366069.
Full textGrakhanov, D. A. "The Ontological Esthetics of Manliness in the Cinematography of Aleksandr Sokurov." Anthropology & Archeology of Eurasia 49, no. 1 (July 2010): 64–74. http://dx.doi.org/10.2753/aae1061-1959490108.
Full textBjörling, Fiona. "Quiet Voices: The Significance of Subdued Dialogue and Voice-Over in the Films of Aleksandr Sokurov." Scando-Slavica 56, no. 1 (April 2010): 99–118. http://dx.doi.org/10.1080/00806765.2010.483779.
Full textFalkowska, Janina. "The myth of the father: Melancholia in the films of Andrzej Wajda from Poland, Michael Haneke from Austria and Aleksandr Sokurov from Russia." Studies in European Cinema 7, no. 1 (September 2010): 67–76. http://dx.doi.org/10.1386/seci.7.1.67_1.
Full textBroude, Inna. "Save Us and Keep Us. (Spasi i sokhrani) Dir. Aleksandr Sokurov. Scenario Iurii Arabov. Camera S. Iurisditskii, S. Zervudaki, R. Vaab, A. Cherednik. Soviet-German production. 1991." Slavic Review 53, no. 2 (1994): 547–49. http://dx.doi.org/10.2307/2501307.
Full textKorycka, Agnieszka Magdalena. "Próba zbliżenia się do sacrum poprzez kino na przykładzie analizy i interpretacji drogi jurodiwego w filmie Aleksandra Sokurowa "Samotny głos człowieka"." Adeptus, no. 7 (June 30, 2016): 36–49. http://dx.doi.org/10.11649/a.2016.003.
Full textDissertations / Theses on the topic "Aleksandr Sokurov"
COSTA, Marcelo Monteiro. "Bestiário do Apolo: a dimensão trágica e inquietante da beleza." Universidade Federal de Pernambuco, 2017. https://repositorio.ufpe.br/handle/123456789/23657.
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O presente trabalho é uma investigação sobre a dimensão trágica da beleza, ou a relação entre o belo e o inquietante (unheimlich), que permeia o fascínio da experiência estética ou da ordem do sensível. Como o próprio título sugere, a pesquisa parte da composição dos impulsos artísticos apolíneo e dionisíaco, para então reivindicar a face inquietante e trágica da beleza, ou o lado obscuro e perturbador na aparência resplandecente de Apolo. Ao retomar o conceito do belo através de uma harmonia dos contrários ou de uma poética do encontro entre o bestial e o rigor da forma, entre a graça e a crueldade humana, entre a razão e a vontade, a intenção é restabelecer e ressignificar as concepções estéticas que viam no belo e no inquietante não campos de atuação opostos que se excluem, mas componentes de uma beleza insondável que inquieta e perturba em seu caráter inapreensível. Uma beleza capaz de trazer à tona aquilo que era pra ser mantido oculto ou em segredo. Num segundo momento, a concepção do unheimlich como algo da ordem do estranho-familiar é retomada a partir das narrativas de retorno à casa, especialmente A parábola do filho pródigo. A casa enquanto abrigo é aqui tomada como refúgio e lugar do repouso contra a ameaça da noite que inquieta e perturba. A casa em sua dimensão estética, no confronto entre o que é heimlich e doméstico, e o unheimlich ou estranho. A construção do lar enquanto elemento reconfortante sofre aqui a ameaça da dimensão trágica. É dentro dessa prerrogativa da fruição estética como uma experiência da ordem do estranho-familiar que o trabalho consolida sua tese. Uma forma retórica de reafirmar que mesmo dentro de estruturas estabilizadoras, como o conceito apolíneo de beleza na estética, ou a volta ao "lar doce lar", há sempre uma dimensão trágica e perturbadora a se manifestar e provocar fascínio.
The present study is an investigation about the tragic dimension of beauty, or the relationship between the beauty and the uncanny (unheimlich), which permeates the fascination of aesthetic experience or of a sensitive percept. As the title suggests, the research stems from the composition of Apollonian and Dionysian artistic impetus, in order to reclaim the disturbing and tragic face of beauty, or the obscure and disruptive side of the bright appearance of Apollo. By resuming the concept of beauty throughout a harmony of opposites or a poetic of the encounter of the bestial and the logical form, of human grace and cruelty, of rationality and will, the intention is to recover and reframe the aesthetic notion that used to perceive the beauty and the uncanny not as opposite scopes of work that exclude each other, but as components of an inconceivable beauty which disquiets and disturbs within its unreachable nature. A beauty that is capable of eliciting what should be kept occult or in secret. In a second moment, the notion of unheimlich as something in the strange-familiar category is took up from narratives of returning home, specially the parable of the prodigal son. The house as a shelter is here taken as a refuge and resting place against the threat of the night that troubles and terrifying. The house in its aesthetic dimension, in the confrontation between what is heimlich and domestic, and the unheimlich or stranger. The framing of home as a warming element is here threatened by the tragic dimension. Within this prerogative of aesthetic fruition as an experience in the strangefamiliar category, the work consolidates its theory. A rhetorical way of reassuring that even within the stabiliser structures, as the Apollonian concept of beauty in aesthetics, or the returning to “home sweet home”, there is always a tragic and disturbing dimension to arise and cause fascination.
Lenglet, Benjamin. "Néoromantisme(s) et esthétique de la postmodernité : La recréation cinématographique d’œuvres littéraires romantiques par Wenders, Gray, Sokourov, Coppola et Verheyde." Rouen, 2016. http://www.theses.fr/2016ROUEL024.
Full textWim Wenders, with “Wrong Move”, James Gray, with “Two Lovers”, Alexander Sokurov, with “Faust”, Francis Ford Coppola, with “Twixt”, and Sylvie Verheyde, with “Confession of a Child of the Century”, have given a unique place to the romantic material. Through the practice of the film adaptation, these five filmmakers have engaged a dialogue between two aesthetic movements, romanticism and the postmodern aesthetic. Through this encounter, they have questioned an aesthetic of the surface in terms of an aesthetic of interiority, and they have mobilized romantic characters confronted to historical and aesthetical singular contexts. Even though these neoromantic expressions are formed into various geographic areas, they share lines, highlighting a cinematographic neoromanticism. Lastly, the treatment, sometimes very open, of the original literary material questions the concept of film adaptation. By the multiple sources mobilized and the necessarily individual filmmaker’s interpretation, the concepts of adaptation and fidelity fade in favor of the concept of “recreation”
Arnaud, Diane. "Figures d'enfermement dans les oeuvres de David Lynch et d'Alexandre Sokourov : perspectives esthétiques du cinéma contemporain." Paris 3, 2003. http://www.theses.fr/2003PA030141.
Full textThe process of confinement is bound to the notion of space in cinema : take the limitation of the image by the screen, or the fact that the spectator is held captive within the movie theaters. My aim is to show that this given confinement is in fact challenged by the moving picture itself. This research brings to light the potential of this confinement produced by the film on the spectator so that the spatial dimensions of the representation can be transfigured. Mystery films by David Lynch and cinematic essays by Alexander Sokurov are paralleled according to the following analytic progression : the scenography of confinement, the exploration of what lies within closed spaces, and the pictorial framing. Such spatial aesthetics entails the fantastical participation of the audience once the enclosure materialises. The study of borderline cases (Kiarostami, Hsiao-hsien, Von Trier) offers an historical perspective whilst reflecting on the spatial construction of closed diegetic worlds
Siafliaki, Iro. "Images en resistance : de l'ouvert de Rainer Maria Rilke et du cinéma : Jean-Luc Godard, Alexandre Sokourov, Béla Tarr." Paris 8, 2013. http://www.theses.fr/2013PA084148.
Full textIt is not obvious to put cinema in echo with certain aspects of Rilke’s poetry, especially with the Open in the Duino Elegies, at the heart of his search on the founding terms of the poet's necessity through time. If this is tempted here, it is because it allows us to explore certain paths suggested by the renewed question on whether cinema is able to witness reality and also to act on it. Concerning mainly the immediacy of our 'being-in-the-world', the Open implies the question of one's view as a tie to the world. Unattainable by man's consciousness that would regard it as an object, the Open could be the necessity to fight against the posture of 'being-in front of' the world, and against the screens of representation. We discern in the importance attached to visuals, to the interference of elements thwarting their codification, as well as in the new forms proposed by the films of such directors as Godard, Sokourov and Tarr, some of the boldest expressions that disrupt the spectacle-view and constitute a resistance against abandoning the dream of responding through our creations to our epoch – a stifling epoch, since it is explained in terms of crisis exceeding our grasp. Connecting these heterogeneous fields does not come through analogy but through the invention of a territory of rapprochements crossed by forces bearing this call. To this is added the practical experience of directing a film based on the thought of Geneviève Clancy, which also crosses the theoretical part of this work. Based on the question of Presence – partly inspired by Rilke – this thought brings to the fore all possibles when these radicalities become the Implicit of our life
Furtado, Sylvia Beatriz Bezerra. "Images that resist: in the intensive Aleksander Sokurov film." Universidade Federal do CearÃ, 2010. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11178.
Full textThe artistic phenomenon should be , first of all defined by the description of forces . In the forms , colors , sounds , materials , and in the special case of cinema mode these forces as part of automation mechanism images . In this sense Deleuze gives to the arts by assigning the role to detect the signs , capture them and make them sensitive . Such that we can no longer say about art as a place of production of meanings , but the trial of strength. It is, this field of think of art as material composition forces . Art does not reproduce forms imaginary , but captures materials , concrete strength. The potency of the art resides therefore in different assemblages with the materials that compose . Only then can understand why , in Deleuzian perspective, the film should be seen by the internal relationship images, the way they articulate their threads - plans , movements camera, the relationship between movement and time, etc. , and not by the relationship they establish with real or believable to the production of images. Not indices of realism or rapprochement between the visible world and the ways that we take the film , but at he is able to capture and compose sensitive world.
O fenÃmeno artÃstico deve ser, antes de tudo, definido pela inscriÃÃo de forÃas. Nas formas, nas cores, nos sons, nos materiais, e no caso especial do cinema, no modo como essas forÃas fazem parte do mecanismo de automaÃÃo das imagens. Nesse sentido que Deleuze dà Ãs artes ao atribuir-lhe o papel de detectar os signos, captÃ-los e tornÃ-los sensÃveis. De tal modo, que jà nÃo podemos mais dizer sobre a arte como lugar de produÃÃo de significados, mas de experimentaÃÃo de forÃas. Trata-se, neste campo, de pensar a arte como composiÃÃo de forÃas materiais. A arte nÃo reproduz formas imaginÃrias, mas capta forÃas materiais, concretas. A potÃncia da arte reside, portanto, nos diferentes agenciamentos com os materiais que a compÃe. Sà assim podemos entender porque, na perspectiva deleuziana, o cinema deve ser visto pela relaÃÃo interna das imagens, pelo modo como se articulam seus encadeamentos â planos, movimentos de cÃmera, relaÃÃo entre movimento e tempo, etc, e nÃo pela relaÃÃo que estabelecem com o real ou com a produÃÃo de imagens verossÃmeis. NÃo à pelos Ãndices de realismo ou de aproximaÃÃo entre as formas e o mundo visÃvel que devemos tomar o cinema, mas pelo que ele à capaz de captar e compor mundo sensÃveis.
Furtado, Sylvia Beatriz Bezerra. "Imagens que resistem: o intensivo no cinema de Aleksander Sokurov." reponame:Repositório Institucional da UFC, 2007. http://www.repositorio.ufc.br/handle/riufc/24566.
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The artistic phenomenon should be , first of all defined by the description of forces . In the forms , colors , sounds , materials , and in the special case of cinema mode these forces as part of automation mechanism images . In this sense Deleuze gives to the arts by assigning the role to detect the signs , capture them and make them sensitive . Such that we can no longer say about art as a place of production of meanings , but the trial of strength. It is, this field of think of art as material composition forces . Art does not reproduce forms imaginary , but captures materials , concrete strength. The potency of the art resides therefore in different assemblages with the materials that compose . Only then can understand why , in Deleuzian perspective, the film should be seen by the internal relationship images, the way they articulate their threads - plans , movements camera, the relationship between movement and time, etc. , and not by the relationship they establish with real or believable to the production of images. Not indices of realism or rapprochement between the visible world and the ways that we take the film , but at he is able to capture and compose sensitive world.
O fenômeno artístico deve ser, antes de tudo, definido pela inscrição de forças. Nas formas, nas cores, nos sons, nos materiais, e no caso especial do cinema, no modo como essas forças fazem parte do mecanismo de automação das imagens. Nesse sentido que Deleuze dá às artes ao atribuir-lhe o papel de detectar os signos, captá-los e torná-los sensíveis. De tal modo, que já não podemos mais dizer sobre a arte como lugar de produção de significados, mas de experimentação de forças. Trata-se, neste campo, de pensar a arte como composição de forças materiais. A arte não reproduz formas imaginárias, mas capta forças materiais, concretas. A potência da arte reside, portanto, nos diferentes agenciamentos com os materiais que a compõe. Só assim podemos entender porque, na perspectiva deleuziana, o cinema deve ser visto pela relação interna das imagens, pelo modo como se articulam seus encadeamentos – planos, movimentos de câmera, relação entre movimento e tempo, etc, e não pela relação que estabelecem com o real ou com a produção de imagens verossímeis. Não é pelos índices de realismo ou de aproximação entre as formas e o mundo visível que devemos tomar o cinema, mas pelo que ele é capaz de captar e compor mundo sensíveis.
Lee, Nara. "Matière et fluidité dans le cinéma contemporain : Stanley Kubrick, Alexandre Sokourov, Tsai Ming-liang, Gus Van Sant." Paris 1, 2013. http://www.theses.fr/2013PA010522.
Full textBooks on the topic "Aleksandr Sokurov"
Usti︠u︡gova, E. N. Aleksandr Sokurov na filosofskom fakulʹtete. Sankt-Peterburg: Sankt-Peterburgskoe filosofskoe ob-vo, 2001.
Find full textArnaud, Diane, Mario Pezzella, and Antonio Tricomi. I corpi del potere: Il cinema di Aleksandr Sokurov. Milano: Jaca book, 2012.
Find full textOsservare l'incanto: Il cinema e l'arte di Aleksandr Sokurov. Roma: Fondazione Ente dello spettacolo, 2009.
Find full textinterviewer, Momo Alberto, ed. Atlante sentimentale del cinema per il XXI secolo: Conversazioni con Abel Ferrara, Adolfo B. Alix jr., Aki Kaurismaki, Alberto Grifi, Aleksandr Sokurov, Amir Naderi, Amos Gitai, Andrej Ujica, Angela Ricci Lucchi, Atom Egoyan, Béla Tarr, David Lynch, Enrico Ghezzi, Franco Maresco, Frederick Wiseman, George Romero, Goutam Ghose, Hou Hsiao-hsien, Jean-Marie Straub, Jia Zhang-ke, John Torres, Johnnie To, Julio Bressane, Khavn de la Cruz, Kira Muratova, Kiyoshi Kurosawa, Lav Diaz, Lee Kang-sheng, Lisandro Alonso, Manoel de Oliveira, Mohsen Makhmalbaf, Monte Hellman, Naomi Kawase, Onde filippine, Otar Iosseliani, Paulo Rocha, Pedro Costa, Philippe Garrel, Quentin Tarantino, Raoul Ruiz, Raya Martin, Roger Corman, Shinya Tsukamoto, Stan Brakhage, Takeshi Kitano, Tonino De Bernardi, Tsai Ming-liang, Wai Ka-fai, Wang Bing, Werner Herzog, Yervant Gianikian, Želimir Žilnik. Roma: DeriveApprodi, 2013.
Find full textStefano, Francia di Celle, Ghezzi Enrico, Jankowski Alexei, and Torino Film Festival (21st : 2003), eds. Aleksandr Sokurov: Eclissi di cinema. Torino: Associazione Cinema giovani, 2003.
Find full textAleksandr Sokurov na filosofskom fakulʹtete. Sankt Peterburg: Sankt-Peterburgskoe filosofskoe obshchestvo, 2001.
Find full textN, Usti︠u︡gova E., Sokurov Aleksandr 1951-, and Sankt-Peterburgskiĭ gosudarstvennyĭ universitet. Filosofskiĭ fakulʹtet., eds. Aleksandr Sokurov na filosofskom fakulʹtete. Sankt-Peterburg: Sankt-Peterburgskoe filosofskoe ob-vo, 2001.
Find full textBook chapters on the topic "Aleksandr Sokurov"
Hänsgen, Sabine. "Minus-Pathos Das mediale Gedächtnis der Leningrader Blockade in Aleksandr Sokurovs Wir lesen das Blockadebuch." In Ethos und Pathos, 269–88. Köln: Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412218850-015.
Full textStrukov, Vlad. "Abstracted Subjectivity and Knowledge-Worlds: Aleksandr Sokurov’s Taurus (2001)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0001.
Full textNancy, Condee. "Aleksandr Sokurov: Shuffling Off the Imperial Coil." In The Imperial Trace, 159–84. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780195366761.003.0006.
Full textKorycka, Agnieszka. "Tkanie nowego człowieka. Analiza i interpretacja filmu Aleksandra w reżyserii Aleksandra Sokurowa." In Doświadczenie wewnętrzne bohatera w dziele filmowym. Warsaw University Press, 2017. http://dx.doi.org/10.31338/uw.9788323531944.pp.309-384.
Full text"cinematic boundaries: aleksandr sokurov’s the sun as liminal biopic." In The Biopic in Contemporary Film Culture, 211–25. Routledge, 2013. http://dx.doi.org/10.4324/9780203384572-20.
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