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Publication
El eterno sacrificio. Decadencia familiar y lo inquietante en el audiovisual ruso contemporáneo
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Authors
Advisor(s)
Abstract(s)
Ruinas y desamor se hacen visibles en el filme Nelyubov (Sin amor, 2017) del ruso Andrey
Zvyagintsev, e igualmente anexos a los vídeos musicales Vyshe Domov (Más alto que las casas, 2019) de
Sirotkin y de Atawsız (Sin título, 2019) de Maslo Chernogo Tmina, dirigidos por los rusos, Oleg Trofim y
Lado Kvataniya, con relatos del aislamiento, suicidio, crisis y consumo. A su vez, lo intempestivo gobierna
en el pensamiento y en la acción, así como también, los deseos más primarios son ejecutados en estas
agrestes obras seleccionadas. Los gestos cotidianos contrastan con los contenidos trágicos, así pues, los tres
autores transforman los espacios domésticos y urbanos en territorios distópicos, desvitalizados, y habitados
por unos seres conocidos, pero siniestros que pervierten sus actos ordinarios. El orden del hogar esta
suprimido, esperando, así pues, otros afectos, virtudes y deseos. Transformaciones familiares en un
continuo progreso y flujo de iconografías hacia una época actual de incertidumbre.
Ruins and heartbreak are visible in the film Nelyubov (Without love, 2017) by Russian Andrey Zvyagintsev, and also attached to the music videos Vyshe Domov (Higher than the houses, 2019) by Sirotkin and Atawsız (Untitled, 2019) by Maslo Chernogo Tmina, led by the Russians, Oleg Trofim and Lado Kvataniya, with accounts of isolation, suicide, crisis and consumption. In turn, the untimely governs in thought and action, as well as, the most primary desires are executed in these wild selected works. Everyday gestures contrast with the tragic contents, therefore, the three authors transform domestic and urban spaces into dystopian territories, devitalized, and inhabited by known, but sinister beings who pervert their ordinary acts. The order of the home is suppressed, waiting, therefore, for other affections, virtues and desires. Family transformations in a continuous progress and flow of iconographies towards a current time of uncertainty.
Ruins and heartbreak are visible in the film Nelyubov (Without love, 2017) by Russian Andrey Zvyagintsev, and also attached to the music videos Vyshe Domov (Higher than the houses, 2019) by Sirotkin and Atawsız (Untitled, 2019) by Maslo Chernogo Tmina, led by the Russians, Oleg Trofim and Lado Kvataniya, with accounts of isolation, suicide, crisis and consumption. In turn, the untimely governs in thought and action, as well as, the most primary desires are executed in these wild selected works. Everyday gestures contrast with the tragic contents, therefore, the three authors transform domestic and urban spaces into dystopian territories, devitalized, and inhabited by known, but sinister beings who pervert their ordinary acts. The order of the home is suppressed, waiting, therefore, for other affections, virtues and desires. Family transformations in a continuous progress and flow of iconographies towards a current time of uncertainty.
Description
Keywords
Cinema ruso contemporáneo Vídeo musical ruso contemporáneo Decadencia familiar Siniestro Andrey Zvyagintsev Oleg Trofim Lado Kvataniya Contemporary Russian cinema Contemporary Russian music video Family decline Disturbing Uncanny . Faculdade de Artes e Humanidades
Citation
Pascual Galbis, P. (2020). El eterno sacrificio: decadencia familiar y lo inquietante en el audiovisual ruso contemporáneo. Estudios sobre Arte Actual, (8), 179-193.
Publisher
Grupo de Investigación *TAC* (Taller de Acciones Creativas) de la Universidad de La Laguna (España).