Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov.
Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov.
Alyssa DeBlasio is Associate Professor of Russian at Dickinson College, where she also contributes to the Film Studies and Philosophy programs.
Inhaltsangabe
Acknowledgements Notes on Transliteration Introduction: The Freest Man in the USSR Chapter One: Alexander Sokurov's Demoted (1980): Consciousness as Celebration Chapter Two: Ivan Dykhovichnyi's The Black Monk (1988): Madness, Chekhov, and the Chimera of Idleness Chapter Three: Dmitry Mamuliya's Another Sky (2010): The Language of Consciousness Chapter Four: Alexei Balabanov's The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death of Form Chapter Five: Alexander Zeldovich's Target (2011): Tolstoy and Mamardashvili on the Infinite and the Earthly Chapter Six: Vadim Abdrashitov and Alexander Mindadze's The Train Stopped (1982): Film as a Metaphor for Consciousness Conclusion: Andrey Zvyagintsev's Loveless (2017): The Philosophical Image and the Possibilities of Film Bibliography Appendix
Acknowledgements Notes on Transliteration Introduction: The Freest Man in the USSR Chapter One: Alexander Sokurov's Demoted (1980): Consciousness as Celebration Chapter Two: Ivan Dykhovichnyi's The Black Monk (1988): Madness, Chekhov, and the Chimera of Idleness Chapter Three: Dmitry Mamuliya's Another Sky (2010): The Language of Consciousness Chapter Four: Alexei Balabanov's The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death of Form Chapter Five: Alexander Zeldovich's Target (2011): Tolstoy and Mamardashvili on the Infinite and the Earthly Chapter Six: Vadim Abdrashitov and Alexander Mindadze's The Train Stopped (1982): Film as a Metaphor for Consciousness Conclusion: Andrey Zvyagintsev's Loveless (2017): The Philosophical Image and the Possibilities of Film Bibliography Appendix
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