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"Paradzhanov, Sergeĭ, 1924-1990."
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The Cinema of Sergei Parajanov
Sergei Parajanov (1924–90) flouted the rules of both filmmaking and society in the Soviet Union and paid a heavy personal price. An ethnic Armenian in the multicultural atmosphere of Tbilisi, Georgia, he was one of the most innovative directors of postwar Soviet cinema. Parajanov succeeded in creating a small but marvelous body of work whose style embraces such diverse influences as folk art, medieval miniature painting, early cinema, Russian and European art films, surrealism, and Armenian, Georgian, and Ukrainian cultural motifs. The Cinema of Sergei Parajanov is the first English-language book on the director's films and the most comprehensive study of his work. James Steffen provides a detailed overview of Parajanov's artistic career: his identity as an Armenian in Georgia and its impact on his aesthetics; his early films in Ukraine; his international breakthrough in 1964 with Shadows of Forgotten Ancestors; his challenging 1969 masterpiece, The Color of Pomegranates, which was reedited against his wishes; his unrealized projects in the 1970s; and his eventual return to international prominence in the mid-to-late 1980s with The Legend of the Surami Fortress and Ashik-Kerib. Steffen also provides a rare, behind-the-scenes view of the Soviet film censorship process and tells the dramatic story of Parajanov's conflicts with the authorities, culminating in his 1973–77 arrest and imprisonment on charges related to homosexuality. Ultimately, the figure of Parajanov offers a fascinating case study in the complicated dynamics of power, nationality, politics, ethnicity, sexuality, and culture in the republics of the former Soviet Union.
eBook
Critic's Choice/Film; Star-Crossed in Ukraine
The Paradzhanov retrospective continues through Thursday. \"Ashik Kerib\" (1988) and \"Little Flower on Stone\" (1962) are to be shown on Monday and Tuesday and \"The Legend of Suram Fortress\" (1984) and \"The First Lad\" (1958) on Wednesday and Thursday. Film Forum is at 209 West Houston Street in the South Village. Tickets are $7.50; $4.50 for members. Box office: (212) 727-8110. STEPHEN HOLDEN
Newspaper Article
Shadows of forgotten ancestors : Sergei Paradjanov
Released in 1965, Sergei Paradjanov's Shadows of Forgotten Ancestors is a landmark of Soviet-era cinema--yet, because its emphasis on folklore and mysticism in traditional Carpathian Hutsul culture broke with Soviet realism, it caused Paradjanov to be blacklisted soon after its release. This book is the first full-length companion to the film. In addition to a synopsis of the plot and a close analysis of the many levels of symbolism in the film, it offers a history of the film's legendarily troubled production process (which included Paradjanov challenging a cinematographer to a duel). The book closes with an account of the film's reception by critics, ordinary viewers, and Soviet officials, and the numerous controversies that have kept it a subject of heated debate for decades. An essential companion to a fascinating, complicated work of cinema art, this book will be invaluable to students.
BOOK
Ethnography, Fairytale, and \Perpetual Motion\ in Sergei Paradjanov's \Ashik-Kerib\
Ashik-Kerib (1988), the last film completed by the great filmmaker Sergei Paradjanov before his death in 1990, is a playful, sometimes campy celebration of fairytale beauty, love, music, and miracles that simultaneously engages in critical self-reflexivity. It is designated as a children's film, and while certainly belonging to Paradjanov's \"signature\" style, it also departs considerably from that style, representing a return to (slightly) more traditional cinematic narrative. Thus it combines the self-consciously \"oriental\" style modeled, as James Steffen has shown, on the medieval illuminated manuscript1-or, as Paradjanov himself said in interviews, the Persian jewelry case, perskaia shkatulka2-with the dominant forms of European, American, and Soviet cinema, or what has been called \"occidental\" narrative continuity.3 This hybrid style echoes the ethnographic project that the film undertakes-an inscription of the Transcaucasus that seeks to integrate the imposed narratives of the past into the self-determined narration of its own story.
Journal Article
Paradjanov's Films on Soviet Folklore
Director Sergei Paradjanov's films on Soviet folklore are discussed. \"Sayat-Nova,\" \"The Legend of Suram Fortress,\" and \"Ashik Kerib\" are reviewed.
Magazine Article