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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술대회자료
- 저자정보
- 발행연도
- 2010.11
- 수록면
- 161 - 167 (7page)
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초록· 키워드
No other Russian literary author has been so often filmed during his lifetime and after his death, on a scale so global and for a period so extensive, as Lev Tolstoy. When he was still alive, indeed, Tolstoy was filmed as an international celebrity on a number of occasions. Especially, this experience of being filmed helped him to recognize the future potential of the newly born media. As scholars noted already, this is why he allowed cinematographers to film himself on various occasions. Even when he left his home and died at Astapovo station, his funeral was filmed as an international media event in its entirety. Finally, from then on, Tolstoy's life was revived or reconstructed through cinematic images for various reasons both at home and abroad.
It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy('s life) was filmed all over the globe. It goes without saying that three has been no attempt to analyse and the (most) recent cinematic representations of Tolstoy's life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy's life is reconstructed from different points of view. The first is Sergei Gerasimov's Lev Tolstoy (1984), gives us a specific Russian view of Tolstoy and his life. The second one, Michael Hoffman's The Last Station (2010), which was released on the 100th anniversary of Tolstoy's death, reveals a typical western (and American) view of his dramatic life.
Gerasimov's film is characterized, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime. As a result, in the film Tolstoy is shown as an ordinary man. Whereas Hoffman's film focuses its main narrative on the scandalous marrige between Tolstoy and his wife Sofiia Andreevna and thus turns the drama of his life into a melodrama. This is just one of the major differences between the two films on the later years of Tolstoy's lifetime. In the paper I will explore some more differences between them on various planes of the narrative.
상세정보 수정요청해당 페이지 내 제목·저자·목차·페이지It is hardly surprising, thus, that Tolstoy occupied an important place in the history of Russian cinema. It is regretful, however, that there has been remarkably little systematic research on how Tolstoy('s life) was filmed all over the globe. It goes without saying that three has been no attempt to analyse and the (most) recent cinematic representations of Tolstoy's life. For this reason, in this paper I will concentrate on the two films in which the last year(s) of Tolstoy's life is reconstructed from different points of view. The first is Sergei Gerasimov's Lev Tolstoy (1984), gives us a specific Russian view of Tolstoy and his life. The second one, Michael Hoffman's The Last Station (2010), which was released on the 100th anniversary of Tolstoy's death, reveals a typical western (and American) view of his dramatic life.
Gerasimov's film is characterized, first of all, by its elimination of prophetic status and saintly aura that surrounded Tolstoy during the last years of his lifetime. As a result, in the film Tolstoy is shown as an ordinary man. Whereas Hoffman's film focuses its main narrative on the scandalous marrige between Tolstoy and his wife Sofiia Andreevna and thus turns the drama of his life into a melodrama. This is just one of the major differences between the two films on the later years of Tolstoy's lifetime. In the paper I will explore some more differences between them on various planes of the narrative.
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