4 research outputs found

    Final Words, Final Shots: Kurosawa, Bortko and the Conclusion of Dostoevsky???s Idiot

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    In their article "Final Words, Final Shots: Kurosawa, Bortko, and the Conclusion of Dostoevsky???s Idiot" Robert O. Efird and Saera Yoon discuss film adaptations of Dostoevsky???s novel. Both in his homeland and abroad, the major works of Fyodor Dostoevsky have largely made for disappointing film adaptations. This article examines the cultural diversity and aesthetic motivations underlying two very different adaptations of his novel Idiot, with particular attention to the concluding scenes. Both Akira Kurosawa and Vladimir Bortko follow the novelist's lead by hinting at some form of hope and future redemption amidst the tragedy but, for different reasons, they both fail to capture the rich ambiguity and creative ambivalence of Dostoevsky's final words. As the authors argue, the novelist's fluid dialogic aesthetic tends to disappear in visual adaptations, yet paradoxically thrives when released into new contexts less dependent on fidelity to his words. These two adaptations, despite their relative success, demonstrate the inherent difficulty of cinematizing the dynamics of Dostoevsky's art

    The Holy Fool in Late Tarkovsky

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    This article analyzes the Russian cultural and religious phenomenon of holy foolishness (iurodstvo) in director Andrei Tarkovsky’s last two films, Nostalghia and Sacrifice. While traits of the holy fool appear in various characters throughout the director’s oeuvre, a marked change occurs in the films made outside the Soviet Union. Coincident with the films’ increasing disregard for spatiotemporal consistency and sharper eschatological focus, the character of the fool now appears to veer off into genuine insanity, albeit with a seemingly greater sensitivity to a visionary or virtual world of the spirit and explicit messianic task

    Final Words, Final Shots: Kurosawa, Bortko and the Conclusion of Dostoevsky’s \u3cem\u3eIdiot\u3c/em\u3e

    Get PDF
    In their article Final Words, Final Shots: Kurosawa, Bortko, and the Conclusion of Dostoevsky’s Idiot Robert O. Efird and Saera Yoon discuss film adaptations of Dostoevsky’s novel. Both in his homeland and abroad, the major works of Fyodor Dostoevsky have largely made for disappointing film adaptations. This article examines the cultural diversity and aesthetic motivations underlying two very different adaptations of his novel Idiot, with particular attention to the concluding scenes. Both Akira Kurosawa and Vladimir Bortko follow the novelist\u27s lead by hinting at some form of hope and future redemption amidst the tragedy but, for different reasons, they both fail to capture the rich ambiguity and creative ambivalence of Dostoevsky\u27s final words. As the authors argue, the novelist\u27s fluid dialogic aesthetic tends to disappear in visual adaptations, yet paradoxically thrives when released into new contexts less dependent on fidelity to his words. These two adaptations, despite their relative success, demonstrate the inherent difficulty of cinematizing the dynamics of Dostoevsky\u27s art

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