The Truth of a Painting and the Truth of a Photograph in the Films of Andrei Zviagintsev
Katarzyna Frankowska
kwartalnik.filmowy@ispan.plThe Eugeniusz Geppert Academy of Art and Design in Wroclaw (Poland)
Abstract
Andrei Zviagintsev in his two films (The return /2003/ and the Banishment /2007/) refers to paintings and photography. Specific paintings used in the diegesis and examples of art iconography combine to create small biblical cycles and provoke biblical interpretation. However the characters do not act in agreement with their biblical prototypes, and are not aware of artistic citations and their meanings, especially that those citations are dominated by the narrative. The presence of photography directs the viewer's attention towards itself, and expands and strengthens the reality of the fiction presented on screen. Only in the end is the viewer forced to confront this final trope. Zviagintsev, when asked about the lack of clarity in the characters and their behaviour, speaks of the mystery or of the paradox that no author is ever able to uncover or explain. That is not the role of the artist.
Keywords:
Andrei Zviagintsev, Bible, paintingReferences
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Authors
Katarzyna Frankowskakwartalnik.filmowy@ispan.pl
The Eugeniusz Geppert Academy of Art and Design in Wroclaw Poland
Historyk sztuki, absolwentka ATK, dziennikarka TVP.
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Copyright (c) 2009 Katarzyna Frankowska
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