The Bloodstream of History
Abstract
The article concerns the events from the beginning of Vladimir Putin’s rise to power in Russia and those related to the brutal Russian attack on Ukraine in 2022, as seen through the prism of selected films and the attitudes of their authors. The starting point is Russian Ark (2002) – Alexander Sokurov’s famous work made in one shot – and in the final remarks, the author writes about Sergei Loznitsa’s Donbass (2018) and the director’s public statements: his resignation from membership in the European Film Academy and a commentary on the boycott of Russian culture. The work of Aleksei Balabanov is also mentioned, mainly his films Brother 2 (2000) and Cargo 200 (2007). The main problems addressed in the article concern how the film form is related to a possible political message, and how cinema is used as a propaganda tool on the one hand and a cultural criticism tool on the other. (Non-reviewed material).
Keywords:
Alexander Sokurov, Sergei Loznitsa, Aleksei Balabanov, Russian cinema, war in Ukraine, cinema and war, long shot, tasks of cultureReferences
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Authors
Iwona Kurzi.kurz@uw.edu.pl
University of Warsaw Poland
https://orcid.org/0000-0001-7180-8670
Culture critic and historian, film expert. She deals with the history of modern Polish culture in the visual perspective, theory of visual culture, and the issues of body and gender. Recent books (co-edited and co-authored): Kultura wizualna w Polsce [Visual Culture in Poland] (2017), Ekspozycje nowoczesności. Wystawy a doświadczanie procesów modernizacyjnych w Polsce 1821-1929 [Expositions of Modernity: Exhibitions and Experiencing Modernization Processes in Poland 1821-1929] (2017) and Ślady Holokaustu w imaginarium kultury polskiej [Traces of the Holocaust in the Imaginarium of Polish Culture] (2017). She writes for Kino and Dwutygodnik.
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In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
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