Relevant bibliographies by topics / Sergei Parajanov

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sergei Parajanov'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sergei Parajanov"

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Amiryan, T. N. "The Peculiarity of the Visual Autofiction of Sergei Parajanov." Critique and Semiotics 37, no. 2 (2019): 47–63. http://dx.doi.org/10.25205/2307-1737-2019-2-47-63.

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In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise de
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Efird, Robert. "Sergei Parajanov's Differential Cinema." Film-Philosophy 22, no. 3 (2018): 465–83. http://dx.doi.org/10.3366/film.2018.0090.

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The films of Sergei Parajanov (1924–1990) remain some of the most stylistically unique in the history of the medium and easily place him within the pantheon of the world's great filmmakers. This article offers a new perspective on Parajanov's art through a detailed examination of the two works at the center of his oeuvre, The Colour of Pomegranates (1969) and The Legend of Suram Fortress (1985). In addition to their undeniable aesthetic value, these films may be appreciated as meaningful discourse on our conceptions of time, perception, and identity. Like Parajanov's other films, they dismantl
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Usitalo, Steven. "The cinema of Sergei Parajanov." Studies in Russian and Soviet Cinema 8, no. 3 (2014): 243–44. http://dx.doi.org/10.1080/17503132.2014.969924.

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Gillespie, David. "The cinema of Sergei Parajanov." Slavonica 22, no. 1-2 (2017): 91–92. http://dx.doi.org/10.1080/13617427.2017.1382668.

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Mikayelyan, A. G. "Ethnography of Prison According to Parajanov." Critique and Semiotics 37, no. 2 (2019): 100–113. http://dx.doi.org/10.25205/2307-1737-2019-2-100-113.

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In the article, the prison period of Sergei Parajanov’s art is examined – Parajanov served his sentence in 1973–1977 in the high security camps in Ukraine. Following the graphic works, collages and film scenarios which he created in the prison, one can conceive of the everyday life in the Soviet prison of 1970s –1980s, more than that, get an outline of the ethnography of the Soviet prison. Parajanov often uses ethnographic realities and attributes in his movies, some of these movies are even considered to be a specific variety of ethnographic cinema. However, there is an opinion that the film
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Sloane, Peter. "Kinetic Iconography: Wes Anderson, Sergei Parajanov, and the Illusion of Motion." Texas Studies in Literature and Language 60, no. 2 (2018): 246–68. http://dx.doi.org/10.7560/tsll60208.

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Oeler, Karla. "A Collective Interior Monologue: Sergei Parajanov and Eisenstein's Joyce-Inspired Vision of Cinema." Modern Language Review 101, no. 2 (2006): 472. http://dx.doi.org/10.2307/20466795.

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Ovtchinnikova, Alexandra. "Shadows of Forgotten Ancestors: In search of national representation in the image of folklore." Studies in Costume & Performance 6, no. 1 (2021): 49–68. http://dx.doi.org/10.1386/scp_00035_1.

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In this case study analysis of the film Shadows of Forgotten Ancestors (1965) directed by Sergei Parajanov (1924‐90) I will explore the ways in which traditional dress in this film, as part of a wider imagery of folklore, has been defamiliarized from the ideological canon of social realism. More specifically, I will look at the ways Parajanov’s film, filled with music, dance, colour and ethnographic texture, significantly departed from the traditional representation of non-Russians on the Soviet screen under the Friendship of Peoples policy. Based on a folkloric legend, adapted and published i
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Simyan, T. S. "SERGEI PARAJANOV AS A TEXT: MAN, HABITUS, AND INTERIOR (on the material of visual texts)." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3 (2019): 197–215. http://dx.doi.org/10.23951/2312-7899-2019-3-197-215.

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Kepley, Vance. "The Cinema of Sergei Parajanov. By James Steffen. Madison: University of Wisconsin Press, 2013. xix, 306 pp. Notes. Bibliography. Filmography. Chronology. Index. Illustrations. Photographs. $29.95, paper." Slavic Review 74, no. 4 (2015): 952–53. http://dx.doi.org/10.5612/slavicreview.74.4.952.

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Dissertations / Theses on the topic "Sergei Parajanov"

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Letoulat, Alice. "D'un archaïsme moderne : enjeux esthétiques et politiques de l'« impureté » chez Pier Paolo Pasolini, Manoel de Oliveira et Sergueï Paradjanov." Thesis, Poitiers, 2018. http://www.theses.fr/2018POIT5009.

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À la vision des films de Pier Paolo Pasolini, Manoel de Oliveira et Sergueï Paradjanov, on peut être surpris par leur préférence pour les formes et thématiques archaïques, c'est-à-dire issues de références anciennes. L'observation de la singularité d'un tel cinéma sert de point de départ à la réflexion. L'archaïsme volontaire de ces réalisateurs semble les isoler dans le champ de l'histoire du cinéma, et pourtant leurs films recèlent aussi des enjeux résolument modernes. À partir du paradoxe qui oppose à première vue les deux termes, ce travail s'efforce de montrer comment l'archaïsme constitu
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Books on the topic "Sergei Parajanov"

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The cinema of Sergei Parajanov. University of Wisconsin Press, 2013.

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1953-, Takiże Davitʻ, Steffen James 1966-, Shakhnazarova Anna, et al., eds. Sergei Parajanov on photographs and stories. Yuri Mechitov, 2014.

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Book chapters on the topic "Sergei Parajanov"

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Weir, Justin. "Gender, sex, and the fantasy of the non-expressive in Sergei Parajanov’s The Color of Pomegranates." In Women in Soviet Film. Routledge, 2017. http://dx.doi.org/10.4324/9781315409856-10.

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Jayamanne, Laleen. "Fabric of Thought: Sergei Parajanov." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463726245_ch02.

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Parajanov is presented here as a director who composes forces of nature. The four elements – earth, fire, wind, and water, as well as stone and the nautilus shell with its unimaginable duration – figure prominently in The Color of Pomegranates. Crafted objects and woven materials play an active role in his films, while the actors aspire to the state of abstraction of the puppet. Through these means, Parajanov gives cinema a natural history and a cosmos-centric power while locating his films within a deep history of the Transcaucasia. A Sufi concept of the image and its apprehension are elaborated through a minstrel’s encounter with wedding feasts of the deaf, the mute, and the blind in Ashik Kerib.
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"2. Fabric of Thought: Sergei Parajanov." In Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick and Ruiz. Amsterdam University Press, 2021. http://dx.doi.org/10.1515/9789048552825-004.

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Hoel, Jon. "The Poetics of Stalker (Poetic Cinema)." In Stalker. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.003.0005.

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This chapter examines the film’s classification as ‘poetic cinema’, defining that term in comparison to other films within that genre--notably Sergei Parajanov’s cinema, and juxtaposing this against the literal use of poetry in the film, and the history of the specific poetry of the film. This mostly focuses on Andrei Tarkovsky’s penchant for utilizing the poetry of his father Arseny Tarkovsky in nearly all of his films, and compares various translations of his poems. The film also prominently utilizes a poem by Fyodor Tyutchev, which is analyzed in this chapter as well, in comparison to a recent reimagining of the same poem in a musical composition by the popular Icelandic art-pop musician Björk.
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