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Les états de la dissonance dans l’œuvre cinématographique de Kira Mouratova (de 1958 à 2009)

Author : Eugénie ZVONKINE


 


Edition : Thèse, Université Paris 8, 2009
3 vol. (588, 224 p.) : ill. ; 30 cm

Langue : French
Présentation :
http://catalogue.bu.univ-paris8.fr/cgi-bin/koha/opac-detail.pl?biblionumber=290622


Period : 1958 - 2009


Kira Muratova is a film director whose films are considered as central in the Soviet and post-Soviet cinema. The emergence of her oeuvre has been marked by the tumultuous historical period. She has worked in the context that covers at least three different systems of film production and distribution: the Soviet system, the in-between period of the Perestroika and the present day commercial system. Her oeuvre has traversed turbulent political periods such as the end of the Thaw, the Stagnation period, the Perestroika, and, more recently, politico-economic conflicts between Russia and Ukraine. The multiplicity of her oeuvre makes it necessary to study the contexts of filmmaking that happen to be situated at the extreme poles of production systems (state-controlled vs. commercial), as well as to analyse the failed projects in order to reveal the coherence of the oeuvre in its integrity. While studying this oeuvre in its diversity and trying to perceive the logic of its aesthetic evolution, we will formulate the crucial concept of our thesis: the cinematographic dissonance. However, meticulous analysis of films will show that the techniques triggering the dissonances do not fully account for the aesthetics of Muratova s films : they also contain restoring vectors. The double tension of the oeuvre, between multiple dissonances and regulating procedures, seems to be contradictory at first sight. We will see, however, that this contradiction becomes comprehensible when one observes that both dissonant and regulating elements constitute the principle of the aesthetic organisation of the oeuvre, the dissonance

Personnes associées : Kira MURATOVA,



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