By Helena Goscilo, Yana Hashamova
This wide-ranging assortment investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. individuals learn complicated styles of id, disavowal, and displacement in motion pictures by means of such assorted administrators as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. a number of chapters concentrate on the problems of gratifying the paternal functionality, whereas others exhibit how vertical and horizontal male bonds are many times strained by way of the strain of redefining an embattled masculinity in a moving political panorama.
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Extra resources for Cinepaternity: fathers and sons in Soviet and post-Soviet film
Html (accessed 17 July 2006). Jung, Carl Gustav. ” In C. G. G. Jung, trans. R. F. C. Hull, 4:301–23. New York: Pantheon Books, 1961. Jung, C. G. Memories, Dreams, Reflections. Recorded and edited by Aniela Jaffé. Translated by Richard and Clara Winston. New York: Vintage Books, 1961/1963. Kuznetsov, Pavel. ” Seans 21/22 (2005): 206–17. Lacan, Jacques. Écrits: A Selection. Translated by Alan Sheridan. New York: W. W. Norton, 1977. Leggott, James. “Like Father? ” In The Trouble with Men: Masculinities in Euro pean and Hollywood Cinema, ed.
28. Polls conducted by the Public Opinion Foundation revealed concern by 46 percent of those polled about Putin’s future. php accessed (14 August 2007). ” 29. Also central in American literature, such constellations served as the theoretical underpinnings for Harold Bloom’s influential study The Anxiety of Influence (1973). 30. For more on these films, see James Leggott. 31. In his astute discussion of the two leaders’ public images, Schoeberlein cites examples from children’s informal discourse and adults’ amateur poems expressing affection for “Grandfather Lenin” and exalting Stalin the Father, respectively: “‘He who is the creator of all that is wonderful, / The masterful architect, our friend and father / Comrade Stalin.
22. The concept of the ruler as divinely ordained was widespread in Europe, as attested by the expression “the divine right of kings,” which reflected the religious and political doctrine of political absolutism, whereby the monarch’s legitimacy and authority derived from God’s will. 23. Il’ia Repin’s painting (1885), which captures the irascible Ivan holding his bloodspattered, dead son in his arms, has helped to wrest this act of filicide from oblivion. 24. An ironic summary of the filicidal strain in Russian culture and its consequences appears in a poem by Dmitrii Prigov: Petor Pervyi zlodei Svoego synochechka Posredi Rossii Vsei Muchil chto est’ mochi sam Tot Terpel, terpel, terpel I v kraiu berezevom Cherez dvesti strashnykh let Pavlikom Morozovym Otmstil.
Cinepaternity: fathers and sons in Soviet and post-Soviet film by Helena Goscilo, Yana Hashamova