The filmmaker's philosopher : Merab Mamardashvili and Russian cinema /

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.

Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: DeBlasio, Alyssa (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Edinburgh : Edinburgh University Press, Edinburgh University Press : Edinburgh University Press ; [2019]
Temas:
Mamardashvili, Merab.
Mamardashvili, Merab
Motion pictures > Russia (Federation) > History.
Philosophy in motion pictures.
Philosophie au cinéma.
HISTORY > Europe > Russia & the Former Soviet Union.
Motion pictures
Philosophy in motion pictures
Russia (Federation)
History
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Intro
  • Title page
  • Copyright
  • Contents
  • Figures
  • Acknowledgments
  • Note on Transliteration and Translation
  • INTRODUCTION The Freest Man in the USSR
  • CHAPTER 1 Alexander Sokurov's Demoted (1980): Consciousness as Celebration
  • CHAPTER 2 Ivan Dykhovichnyi's The Black Monk (1988): Madness, Chekhov, and the Chimera of Idleness
  • CHAPTER 3 Dmitry Mamuliya's Another Sky (2010): The Language of Consciousness
  • CHAPTER 4 Alexei Balabanov's The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death o
  • CHAPTER 5 Alexander Zeldovich's Target (2011): Tolstoy and Mamardashvili on the Infinite and the Ear
  • CHAPTER 6 Vadim Abdrashitov and Alexander Mindadze's The Train Stopped (1982): Film as a Metaphor fo
  • CONCLUSION Andrey Zvyagintsev's Loveless (2017): The Philosophical Image and the Possibilities of Fi
  • Appendix
  • Bibliography
  • Index

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