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020 _a9781474444484
_qprint
020 _a9781474444507
_qPDF
024 7 _a10.1515/9781474444507
_2doi
035 _a(DE-B1597)9781474444507
035 _a(DE-B1597)615356
035 _a(OCoLC)1306539909
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aHIS032000
_2bisacsh
082 0 4 _a791.430947
_223
084 _aonline - DeGruyter
100 1 _aDeBlasio, Alyssa
_eautore
245 1 4 _aThe Filmmaker’s Philosopher :
_bMerab Mamardashvili and Russian Cinema /
_cAlyssa DeBlasio.
264 1 _aEdinburgh :
_bEdinburgh University Press,
_c[2022]
264 4 _c©2019
300 _a1 online resource (216 p.) :
_b14 B/W illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Figures --
_tAcknowledgments --
_tNote on Transliteration and Translation --
_tIntroduction: The Freest Man in the USSR --
_t1. Alexander Sokurov’s Demoted (1980): Consciousness as Celebration --
_t2. Ivan Dykhovichnyi’s The Black Monk (1988): Madness, Chekhov, and the Chimera of Idleness --
_t3. Dmitry Mamuliya’s Another Sky (2010): The Language of Consciousness --
_t4. Alexei Balabanov’s The Castle (1994) and Me Too (2012): Kafka, the Absurd, and the Death of Form --
_t5. Alexander Zeldovich’s Target (2011): Tolstoy and Mamardashvili on the Infinite and the Earthly --
_t6. Vadim Abdrashitov and Alexander Mindadze’s The Train Stopped (1982): Film as a Metaphor for Consciousness --
_tConclusion: Andrey Zvyagintsev’s Loveless (2017): The Philosophical Image and the Possibilities of Film --
_tAppendix --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aTraces the influence of Soviet philosopher Merab Mamardashvili on a generation of Soviet and Russian filmmakersShortlisted for the 2020 AATSEEL Best Book in Cultural Studies awardThe first study of Mamardashvili’s significant influence on cinema, culture and philosophy in RussiaOffers a compelling analysis of contemporary Russian filmmakers, including Alexander Sokurov, Andrey Zvyagintsev and Alexei BalabanovProvides a carefully researched study of Mamardashvili’s philosophy and intellectual biography, written for scholars from all disciplinesKnown as the ‘Georgian Socrates’ of Soviet philosophy, Merab Mamardashvili was a defining personality of the late-Soviet intelligentsia. In the 1970s and 1980s, he taught required courses in philosophy at Russia’s two leading film schools, helping to educate a generation of internationally prolific directors. 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. This multidisciplinary study offers an innovative way to think about film, philosophy and the philosophical potential of the moving image. "
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022)
650 0 _aMotion pictures
_zRussia (Federation)
_xHistory.
650 0 _aPhilosophy in motion pictures.
650 4 _aFilm, Media & Cultural Studies.
650 7 _aHISTORY / Russia & the Former Soviet Union.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781474444507?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9781474444507
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781474444507/original
942 _cEB
999 _c217102
_d217102