В рамках семинара “Рецепция американского и советского кино” с участием И.Юбэнкса (РЭШ, НИУ-ВШЭ) и С.А.Ромашко (МГУ) 11 декабря в 17:00 в ауд.951 был проведён показ фильма Киры Муратовой “Короткие встречи” (1967).
Отзывы
Айван Юбэнкс (Ivan Eubanks), доцент факультета гуманитарных наук и языков НИУ ВШЭ, Директор центра устной и письменной коммуникации, главный редактор “Пушкинского вестника”, шеф-редактор “Вопросов образования”
I really enjoyed the discussion last Friday, and that was the first time I’d seen Muratova’s Korotkie vstrechi.
I found it especially interesting how the discussion group pointed out the high degree of realism in the film. I wouldn’t have noticed that without the benefit of our conversation, perhaps because, as an American, I perceived so many of the details in the film as the semiotic fabric of a culture that is not my own. Thus, the details that accumulate into familiar territory for Russians, especially those who lived in the USSR, were for me particularly salient gateways to a new realm of cultural knowledge. That may be why I see the realism in the film as hyperrealism, particularly in light of Muratova’s cinematography. Indeed, one thing that fascinates me about Muratova’s work is that she constructs a visual narrative out of shots and images—like the dog in the basket at the cafe or the reproduction of the Kramskoy’s Neizvestnaia in the background of another scene—that surrounds the dramatic storyline and at times competes with it. This simulates, in my view, the way the world functions, as we focus on the events in our own lives while untold numbers of things happen unnoticed all around us. Muratova’s ability to capture that creates a vivid instance of what Viktor Shklovsky calls ostranenie (“defamiliarization,” or “estrangement”), and thus, if the task of art really is to jolt us out of the automated, routine perceptions generated by our daily lives, she managed to create cinematic art of the most effective kind.