Дом между Горноуралск и Париж (Бележки върху семантиката на художественото пространство във филма „Журналист” (1967)
The article offers observations on the semantics of the artistic space in Sergey Gerasimov’s film Journalist (1967). It traces the models of the socialist realism canon, the poetics of Khrushchev’s Thaw, the mythopoetic tradition, and the author’s original approach in constructing the spatial scheme of the film. We outline the cinematic narrative’s connection to the sociocultural processes of the 1960s in the Soviet and pan- European context.
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